Mozart Society of America
Mozart Society of America
Mozart Society of America
MOZART &
HEARTZ
The annual business meeting of the
Mozart Society of America will take
place at 12:15 P. M. on Friday,
November 11, 2011, during this year's
meeting of the American Musicological
Society in San Francisco.
The business meeting will be
immediately followed by a study
session assessing the contribution
to Mozart studies of Daniel Heartz's
recently completed Norton trilogy,
Haydn, Mozart, and the Viennese
School, 1740-1780 (1995); Music in
European Capitals: The Galant Style,
1720-1780 (2003); and Mozart, Haydn
and Early Beethoven, 1781-1802 The Twin Cities Catholic Chorale under Robert Peterson performs in St. Agnes Church, St. Paul
(2009). Chaired by Paul Corneilson, the
study session will include presentations
on the operas by Mary Hunter and on
Mozart in the Twin Cities
the instrumental music by John A. Rice. The Mozart Society of America, in age 15, will join pianist Maria Rose for
Heartz, now 83 years old, will be in collaboration with the Center for the Schubert Club’s Courtroom Concert
attendance, and the event promises to Austrian Studies, the Schubert Club, and at noon on Thursday—one of several
be both festive and thought-provoking. the University of Minnesota School of free Courtroom Concerts in October
Music, will hold its fifth biennial confe- devoted to Mozart—at the Landmark
News in Brief rence, “Mozart in Our Past and in Our Center in St. Paul. On Sunday morning
Present” in Minneapolis and St. Paul, the Twin Cities Catholic Chorale under
Jan LaRue’s Guidelines for Style Minnesota from Thursday, October 20 Robert Peterson will sing Mozart’s
Analysis has appeared in a second
to Sunday, October 23, 2011. Paper Missa longa K. 262 as part of High Mass
edition from Harmonie Park Press. In
sessions will take place at the U of at St. Agnes Church in St. Paul.
this new edition, a companion volume,
M School of Music on Thursday and Other musical highlights will
Models for Style Analysis, long planned
but not published during his lifetime, has Saturday, and at the Schubert Club at the include lecture-recitals by Maria Rose,
been added on a compact disc. Edited Landmark Center in downtown St. Paul using the Schubert Club’s collection
by Marian Green LaRue, it presents on Friday. A reception sponsored by the of eighteenth- and nineteenth-century
fifteen pieces, running the historical Center for Austrian Studies on Thursday instruments, and by organist Jane
gamut from Gregorian chant to 12-tone afternoon will get the meeting off to a Schatkin Hettrick in the University of
music, with accompanying analyses convivial start. Minnesota’s organ studio. On Friday
by LaRue. These models illustrate and The conference will begin and evening, October 21, several musi-
clarify his style-analytic approach. end with music. Minnesota-born piano cians will join pianist Lydia Artymiw
continued on page 3 prodigy and MSA member Cindy Lu, continued on page 2
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Mozart in the Twin Cities
Newsletter of the continued from front page
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Mozart at ASECS 2012
Mozart Society of America
The Mozart Society of America is sponsoring two sessions at the annual meeting of the
American Society for Eighteenth-Century Studies. The conference will take place in San Object and Goals
Antonio, Texas, on March 22-25, 2012. Proposals for papers for each session should be sent
to the appropriate chair by 15 September 2011. They should include your name, email, and
phone number and indicate the audio-visual equipment you will need. For more informa-
tion on the conference, including a list of sessions, see the ASECS website, http://asecs. Object
press.jhu.edu/#.
The object of the Society shall be the
Mozart's Chamber Music and its Contexts encouragement and advancement
This session will explore Mozart's chamber music and its eighteenth-century contexts. Pos- of studies and research about the
sible topics might include Mozart's music vis-à-vis that of other composers of the time and life, works, historical context, and
the dissemination and reception of Mozart's chamber works. When, where, and how was reception of Wolfgang Amadè
this music performed? What role did publications and arrangements play in its reception? Mozart, as well as the dissemination
In what contexts do we hear this music today? How do these differ from the eighteenth of information about study and
century? Papers that address the role of chamber music in eighteenth-century novels, plays, performance of related music.
diaries, paintings and prints would also be welcome.
Please send abstracts to Laurel E. Zeiss, Baylor University: Laurel_Zeiss@baylor.edu.
Goals
Mozart and the Allegorical Stage
1. Provide a forum for communi‑
Surveying the theater scene in 1800, the poet Christoph Kuffner offers a brief reflection
cation among scholars (mostly
on allegory. He grants allegorical drama a place in an earlier, “unlettered” (“ungebildete”)
but not exclusively American);
age, but less so in the present. Allegory in his day has lost touch with its pious roots, and
encourage new ideas about
what’s left, says Kuffner, appeals mostly to the cruder appetites, like those for lampoonery
research concerning Mozart
and satire.
and the late eighteenth century.
The conception of allegory as a superannuated form of theater predominated in Vi-
enna’s Enlightened circles; it also carries (under a different aspect) some authority in pres- 2. Present reviews of new
ent-day Mozart scholarship. Especially when it comes to the Da Ponte operas, Mozart’s publications, recordings,
operatic achievement is often cast in implicitly anti-allegorical language—for example, as and unusual performances,
a triumph over the fixed character, the predictable situation, or the old convention in favor and information about
of a more dynamic, interior sense of theater. dissertations.
Some recent scholarship, however, has argued for a more robust presence of allegory in
the latter half of the eighteenth century, a line of thought that will be the point of departure 3. Support educational projects
for this proposed panel. Although the focus is on Mozart, papers that explore allegory more dealing with Mozart and the
broadly are encouraged. Topics might involve, for example, allegorical interpretations of eighteenth-century context.
specific dramatic works, allegory in relation to particular genres or to the visual arts, theo-
ries of allegory, political and religious contexts for allegory, or allegory in eighteenth-cen- 4. Announce events—symposia,
tury reception (as critics wrestled with the works of Shakespeare, for example). festivals, concerts—local,
Please send abstracts to Edmund J. Goehring, University of Western Ontario: regional, and national.
egoehrin@uwo.ca.
5. Report on work and activities
in other parts of the world.
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Mozart in Our Past and in Our Present:
Abstracts for the MSA’s Fifth Biennial Conference in
Minneapolis and St. Paul, 20–23 October 2011
After Benucci: Vienna’s Second Figaro, Friedrich Karl Lippert The aria’s introduction became essentially a concerto exposition in
Carol Padgham Albrecht, University of Idaho anticipation of the entrance of the expected soloist, Viennese-born
soprano Catarina Cavalieri (1760–1801), who, instead of looking
This paper presents new information and perspectives on the life like Marilyn Monroe, as depicted in Amadeus, was actually heavy-
and career of Friedrich Karl Lippert (1758–1803), a leading figure set and severely disfigured by smallpox, which also left her blind
in late eighteenth- and early nineteenth-century Viennese theater in one eye. Even so, she was one of the stars in Emperor Joseph’s
who played a starring role in its Mozart performances. German opera, and “her” aria lasted almost nine minutes!
Francesco Benucci, an outstanding comic bass-baritone, This paper will present new biographical material on all
created the title role in Le nozze di Figaro, which opened on May four of the orchestral soloists featured in “Martern aller Arten.”
1, 1786 in Vienna’s Burgtheater and closed on 9 February 1791 While Triebensee and Weigl are occasionally mentioned in the
after two runs of performances. Figaro did not return to the court literature, especially in the contexts of their respective fami-
theaters until it opened in a German production—Die Hochzeit des lies, the two bachelors Prowos and Woborzil have remained
Figaro—on July 10, 1798, with a German singer, Lippert, as the largely unknown and undocumented. Recent research in
new Figaro. Initially hired in 1786 for Joseph II’s Singspiel troupe, Vienna’s Haus- Hof- und Staatsarchiv, Stadt- und Landesarchiv,
he appeared in the tenor role of Belmonte in Die Entführung aus Stadt- und Landesbibliothek, Bibliothek of the Österreichisches
dem Serail. When this German company was dissolved in 1788 Theatermuseum, as well as several church archives, will allow us
due to Austria’s war with Turkey, Lippert headed north to Berlin. (in the present) to see and almost to “hear” these soloists (from the
In the court opera ensemble there he distinguished himself as a past) as never before.
Mozart interpreter in both tenor and baritone roles: Belmonte,
Count Almaviva, and Don Giovanni. Child’s Play? The Magic Flute as Family Entertainment
In July 1797 Lippert returned to Vienna, joining the court Kristi Brown-Montesano, Colburn Conservatory of Music
theaters’ reinstated German opera company, where he appeared
in their “second generation” of Mozart opera productions, all in During the latter part of the twentieth century, The Magic Flute
German: as Figaro in Die Hochzeit des Figaro, as the title char- acquired a reputation as the ideal introductory opera for children,
acter in Don Juan (from December 11, 1798), and as Monostatos with major companies around the world sponsoring family-
in the court theaters’ first production of Die Zauberflöte (February friendly productions, abbreviated and in the local language, of
24, 1801). Close examination of the original daily playbills shows Mozart’s perennial favorite. A parallel tradition of Magic Flute-
Lippert to have been a singer and actor of exceptional versatility inspired children’s products, including books, graphic novels,
of range and character types (romantic heroes, Turks, slaves, even story-telling CDs—even a computer game—flourished as well.
Iago), appearing night after night in both musical and spoken Selling The Magic Flute to families has intensified in the US
theatrical roles. He also addressed the constant need for scripts, over the past decade, with the Metropolitan Opera giving official
both original and adaptations: he supplied the translations for both sanction to the brand with its abridged version of Julie Taymor’s
Figaro and Don Juan. 2004 production, which, in 2006, became the first staging featured
in the Metropolitan Opera Live in HD series, with select New York
The Soloists in “Martern aller Arten,” Mozart’s Sinfonia public schools receiving free broadcasts. This adaptation also initi-
Concertante Movement for Flute, Oboe, Violin, Violoncello ated what Jennifer Fisher might call the Nutcracker-ization of The
and One-Eyed Soprano Magic Flute, launching the Met’s new holiday-season matinee series.
Theodore Albrecht, Kent State University Since 2006 the Met holiday series has alternated between The
Magic Flute and Hansel and Gretel. But Mozart’s Singspiel does
Newly arrived in Vienna in the Spring of 1781, Mozart received not submit easily to this niche-market pairing. Humperdinck’s
a commission to compose Die Entführung aus dem Serail, with opera was family fare from its inception; the composer’s sister
its libretto by Gottlieb Stephanie the Younger, to be performed, if transformed the Brothers Grimm story into a libretto suitable for
possible, for the upcoming visit of Grand Duke Paul of Russia that her own children, with positive depictions of the whole family.
September. Work on the libretto dragged, as did that on the music, In contrast, The Magic Flute hinges on violent strife between a
and the opera was finally premiered at the Burgtheater on July 16, mother and a father-figure fighting over a child, set in a messy
1782. PG-13 collage of Egyptian myth, Masonic ideology, and bigoted
The personnel in the theater’s orchestra was in some flux eighteenth-century dictums on race and gender.
during this period, but in Act 2, Mozart expanded the aria This paper examines the Met/Taymor production in the
“Martern aller Arten” into a virtual sinfonia concertante move- context of the broader “Magic Flute for kids” phenomenon,
ment to show off the talents of four of its principals, concertmaster with close analyses of scenes that touch on the most problematic
Thomas Woborzil (ca. 1734–1800), violoncellist Joseph Weigl aspects of the original narrative: the character of Monostatos, and
(1740–1820), oboist Georg Triebensee (1746–1813), and the the relationship between mother and child as represented by the
newly appointed principal flutist Joseph Prowos (1752/53–1832). Queen of the Night and Pamina.
—4 —
Mozart’s Journey to Frankfurt and News in Brief
the Schubert Club’s Mozart Letter continued from page 3
Paul Corneilson, Packard Humanities Institute
The Library of Congress has launched a Music Consortium Treasures
“Among biographers of famous personalities there is website that gives online access to some of the world’s most valued music
something like a horror vacui—a fear of gaps or empty manuscript and print materials from six esteemed institutions at www.loc.
spaces.” (Volkmar Braunbehrens, Mozart in Vienna, gov/musictreasures/.
1781–1791, trans. Timothy Bell [New York, 1989], 326.) The Music Treasures Consortium website is the creation of music
Although this cautionary remark refers to Mozart’s trip libraries and archives in both the United States and the United Kingdom.
to Berlin in 1789, it could also be applied to his trip Joining the Library are The Juilliard School’s Lila Acheson Wallace
to Frankfurt for the coronation of Leopold II in 1790. Library, the British Library, the Eda Kuhn Loeb Music Library at Harvard
Nissen’s biography of Mozart (1828) mentions the trip University, the Morgan Library and Museum and the New York Public
but with very few details except to admit that Mozart Library.
had to sell some of his wife’s valuables to finance the Items digitized include manuscript scores and first and early editions
trip. Nissen also quotes from two of Mozart’s letters to of a work. Seminal composers such as Johann Sebastian Bach, Wolfgang
Constanze, written in Frankfurt on 28 and 30 September Amadeus Mozart, Richard Wagner, Claude Debussy, Georges Bizet, Arnold
1790 (the autograph of the latter is now in the Schubert Schoenberg and Igor Stravinsky, among others, are represented on the
Club Museum). In addition to these letters there is site through their original handwritten manuscripts and first editions. The
a poster for a concert Mozart gave on 15 October at online items range from the 16th century to the 20th century in this initial
Frankfurt and documentation that Mozart visited Mainz, launch.
Mannheim, and Munich before returning to Vienna. Researchers can search or browse materials, access bibliographic
Enter Gustav Nottebohm, who in 1880 published information about each item and view digital images of the treasure via
Mozartiana, a collection of mostly hitherto unpublished each custodial archive’s website. The site will continue to grow as consor-
letters. Although many of these have been accepted tium members add more items.
as authentic, most of them survive only in copies.
Curiously, the letters in Mozartiana are not presented The Internationale Stiftung Mozarteum recently placed online digital
in chronological order or any discernible order (as far images of some 80 letters written by Leopold and Wolfgang Mozart during
as I can tell). More troubling, some of the passages their Italian journeys of 1769-73. This is part of a project undertaken in
are contradicted by facts. For example, in the letter of connection with the Digital Mozart Edition to make all the Mozart family
Friday, 15 October, Mozart tells Constanze his concert correspondence in the collection of the Mozarteum available online in the
was so successful that he was implored “noch eine form of digital images and transcriptions at http://dme.mozarteum.at/DME/
briefe/doclist.php.
Academie künftigen Sonntag zu geben — Montag reise
ich dann ab.” But Mozart left Frankfurt the following
The Mozarteum also announces the acquisition of a musical manuscript in
day, on Saturday, 16 October, not on Monday, and went
Mozart’s hand for approximately €120,000 at an auction held by Sotheby’s
to Mainz where he gave a concert on 20 October.
in London in December 2010. The manuscript, written in the fall of 1783,
I propose that all letters available only in
is a score of the opening of the fugato finale of Michael Haydn’s symphony
Mozartiana should be treated with caution, if not in D major, MH 287, composed about 1778-80; as Mozart does not identify
regarded as spurious. In this paper I demonstrate that the work, the music had once been attributed to him as K. 291.
some of the texts of these letters are corrupt, either
“edited” or forged (possibly by Friedrich Rochlitz The fragmentary (7-measure) autograph of the Magnificat in C major, K.
or Nottebohm himself). But I also offer a potentially 321a, was sold by Christie’s (sale 1004) in Paris on 11 May for a price
exciting discovery by Karl Böhmer, who has found of €115,000. A description and digital image of the page are still (as of 2
a portrait of a composer made by a painter active in August) up on Christie’s website: www.christies.com/lotfinder/ZoomImage.
Frankfurt that might be the last painting of Mozart! aspx?image=/lotfinderimages/d54337/d5433781&IntObjectID=5433781.
Writing a novel from Mozart’s life As many MSA members will have heard, the Robert Owen Lehman collec-
Stephanie Cowell, New York tion of autograph manuscripts has been offered for sale. The collection is
undoubtedly the finest of its kind in the possession of a private individual
My novel Marrying Mozart (Viking Penguin,
and includes over 1,000 pages of Mozart autographs, principally instru-
2004) is about the twenty-one-year-old Mozart’s mental works from the 1770s (an inventory appeared in the August, 1997
encounter in Mannheim with the four enchanting daugh- issue of this newsletter). The sale of the collection is conditional upon
ters of the violinist Fridolin Weber. Mozart could have its remaining intact and residing in an appropriate educational institution
married any of them; after four years he chose the most affording scholarly and public access. The collection has been on loan
unlikely. to the Morgan Library and Museum for many years and the Morgan has
I have been a passionate Mozart lover since the been attempting to secure funding to add the collection to its permanent
age of twelve. For more than fifteen years I studied holdings. It is Mr. Lehman’s intention to use the proceeds from the sale to
singing seriously and, as a high soprano, I sang most of establish a foundation to support music education, performance and related
the major Mozart soubrettes in many semi-professional activities. The sale is being handled by the firm of J & J Lubrano Music
opera houses and concert venues in the eastern United Antiquarians; their website is www.lubranomusic.com.
continued on page 7
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The second page of the Schubert Club’s Mozart letter, written to Constanze from Frankfurt on
30 September 1790, which will be the subject of a paper by Paul Corneilson
—6 —
Abstracts Mozart and Memes: The Flow of Content to and from a Master
continued from page 5 Robert Gjerdingen, Northwestern University
States. Marrying Mozart was my fourth published novel. The term “memes” is a trendy analogue of “genes.” Just as genes
Why fictionalize Mozart? Scholars spend their lives getting transmit genetic information through natural selection, the idea is
every detail right, every date and cloth button or absolute length that memes transmit cultural information through various types of
of a voyage and then a novelist or filmmaker or poet takes your replication. In the art of eighteenth-century music, such packets of
hard work and fictionalizes it. I wrote Marrying Mozart out of my information may have transmitted fashionable phrases, cadences,
great love for him. His music guided me; I made my novel a little and sequences. The replication of sanctioned models was a central
like Figaro, my favorite: with that glorious bubbling happiness part of musical apprenticeship in Mozart’s day, and the surviving
that suddenly, as heart-rending as the entry of the clarinet, is inter- manuscripts from Neapolitan conservatories document the memes
rupted by some sadness or regret. The wrong girl is loved. The or “schemata” that one needed to learn. Neapolitan schemata
wrong person is heartbroken. “went viral” and became part of the musical lingua franca. Mozart
I fictionalized Mozart to bring him to immediate, vivid life, had learned them all by about age ten, and they formed the core
to cause people who have never heard his music fall in love with of his compositional language. An examination of the Adagio
him, and people who know his music fall more deeply in love. from the so-called Grand Partita (K. 361) will reveal how perva-
I wanted to show music lovers that he was not simply the funny sive were these shared patterns and how, through the sharing of
little man in a wig portrayed in Amadeus. videos in our own day, musical patterns can take on new or at least
I am thrilled to be able to speak about how and why I wrote revised meanings.
this novel and share a little of it at the conference.
Two modes of Mozart historiography
Censoring Don Juan: Edmund Goehring, University of Western Ontario
Franz Karl Hägelin’s Treatment of a Singspiel by Mozart
Lisa de Alwis, University of Southern California In one episode from A New Mimesis (1983, 2007), A. D. Nuttall
identifies two contrasting modes of modern literary criticism.
Among the estate papers of Otto Erich Deutsch is a short piece he On the one side is what he terms “opaque” criticism, which is
wrote about the libretto, probably by Friedrich Karl Lippert, of an “external, formalist, operating outside the mechanisms of art and
1803 German Singspiel version of Mozart’s Don Giovanni. Years taking these mechanisms as its object.” The opaque critic sees the
after Deutsch’s death, his daughter published it in a volume of distance between meaning and mechanism in a text as an insuper-
essays called Wiener Musikgeschichten. Deutsch’s main interest able problem for (rather than a necessary condition of) intelligi-
lay in transcribing two scenes that had been deleted by the censor bility and sympathy. On the other side is the transparent critic, who
Karl Franz Hägelin, whose job it was to evaluate all works to be thinks it neither intellectually suspect nor profligate to fall under
performed on Vienna’s stages. But the libretto is of significance the spell of art. In fact, Nuttall regards the transparent mode as the
beyond these cuts and is more than a simple translation of an superior of the two, for it can say everything that the opaque one
Italian opera into a German Singspiel. This Don Juan deviates can, and then more.
significantly from the Mozart/Da Ponte original, for example in its In music scholarship, Nuttall’s categories might seem most
tone, its length, and in the addition of a new character. relevant to the interpretation of musical works, especially opera,
The cuts represent the only way the piece could be performed but they also have something useful to say about music historiog-
in German in Vienna during the early nineteenth century. Works in raphy. In particular, I will suggest that at least some of the demy-
German were more heavily censored than those in other languages thologizing character of more recent Mozart research is a cousin
for the obvious reason that their content was certain to influence to criticism in the opaque mode. Here, the rough equivalents to
a wider audience. In Don Juan, the texts to musical numbers are “transparent” and “opaque” criticism are “history,” understood as
often clumsy, lacking the flow of the better-known German trans- thought, and “context,” understood as structure. To illustrate the
lations, some of which are still used today. distinction as well as the power of the transparent, non-mechanical
Aside from the consequences for Mozart’s music presented by type, I will compare Charles Rosen’s commentary on the eigh-
this libretto, my paper discusses Hägelin’s role in the major shift teenth-century string quintet with later narratives that take a more
in censorship practices that took place during the early nineteenth objectivist tone. Rosen speaks from the “inside,” as it were—as
century, toward the end of his career. By way of comparison, I one with a lively aesthetic interest in the music he bothers to
discuss a manuscript libretto of a German version of Molière’s write about. This vantage point may seem only to hobble sober
play Dom Juan that was censored by Hägelin twenty years earlier. appraisal, not to mention seriously undermine historical credibility,
Changing political circumstances forced Hägelin to censor more as when one reads that Boccherini’s quintets are “insipid” or of the
strictly than he had before. He censored the Don Juan Singspiel concertante string quintet as a “lazy extension” of certain kinds
twice within a few days, and approved it for performance after of quartet writing. But Rosen’s argument about the genesis and
the necessary corrections had been made. But due to the standard character of some of Mozart’s quintets satisfies important criteria
censorship procedure that texts underwent, it is unlikely that that of music/historical writing: it is falsifiable (without claiming to
the librettist could have made these changes within this short space be predictive), and it applies only to specific times and places. In
of time. It is therefore possible that Hägelin, who, unlike other other words, his aesthetic engagement with the music is a boon
censors, was sensitive to aesthetic issues, made the corrections to historical understanding. In contrast, in striving to attain a
himself.
continued on page 8
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Abstracts pertaining to Mozart’s life, hoping first and foremost to find
continued from page 7 images of individuals for whom Mozart wrote music. The search
also included patrons, composers with whom Mozart interacted,
greater aesthetic distance from the work, some opaque, objectivist singers, instrumentalists, friends, and concert sites not included
accounts of Mozart’s historical achievement run into their own in the Zenger-Deutsch supplement. More than 1,000 images have
problems, like self-contradiction, tautology, and reductionism. come to light, of which about 600 will appear in a series of books
to be published in 2012.
Mozart’s Orgelstück, K. 608 and Its Performance: In this paper I will present some major iconographical find-
Beyond the Spieluhr ings and comment on their significance to our understanding of
Jane Schatkin Hettrick, Hofstra University Mozart and his music.
Mozart iconography began in a serious vein in 1961, with the Zooming In, Gazing Back: Don Giovanni on Television
publication of supplement to the NMA entitled Mozart und Richard Will, University of Virginia
seine Welt in zeitgenössischen Bildern (Mozart and his World
in Contemporary Pictures)—work done initially by Maximilian Don Giovanni has been appearing regularly on television for six
Zenger and completed by Otto Erich Deutsch. But it is now decades, during which it has been subject to a wide range of tele-
apparent that significant gaps in the iconography of Mozart’s life visual technologies and directorial styles. Based on a study of over
have resulted in a narrowing of the biographical narrative, and fifty broadcasts and videos, my paper explores what the opera has
that filling those gaps will open up new pathways for biographical become during its long history on the small screen. Television has
research. had potent effects in the domains of time, subjectivity, and perfor-
In 2005 I undertook a comprehensive search for images mance, the treatment of which offers some surprising insights into
—8 —
this most exhaustively discussed pillar of the operatic repertory. German Ruth Berghaus stands out as the one of the first by a
Filming, editing, audio mixing, and the other resources of notable female director.
television have made the action of Don Giovanni appear faster or Premiered by the Welsh National Opera in 1984 and trans-
slower (time), its characters deeper or more superficial (subjec- ferred to the Staatoper in East Berlin in 1985, Berghaus’s produc-
tivity), and its singers more “in character” or “onstage” (perfor- tion was considered feminist above all because of its focus on the
mance). A decided emphasis on individual figures and interior female characters. Yet Berghaus did not cast Don Giovanni in a
emotions—an emphasis media scholars consider typical for televi- negative light, as one might expect from a feminist interpreta-
sion as a whole—contradicts the critical commonplace that Don tion. Instead she portrayed him as liberating the women from
Giovanni lacks the psychological depth of the other Mozart-Da their oppressed lives in a patriarchal society dominated by stuffy
Ponte collaborations. On television even the title character, continued on page 10
famously dubbed “no-man” by Allanbrook, becomes as distinctive
and feeling a subject as any other Mozartean character.
At the same time, television’s affinity for the individual
subject, combined with its inherent bias toward the visual, poses
risks that have long been discussed in film and media theory—
risks exacerbated by the opera’s preoccupation with sex and
power. Watching its scenes of seduction and its characters’ strug-
gles with desire and temptation, it is easy to feel like a voyeur,
particularly when the characters are women filmed in close-up
or with the zoom lens, television’s signature device for exposing
subjectivity. Donna Anna pleading, Donna Elvira fretting, or
Zerlina succumbing to temptation can all look like textbook exam-
ples of the “gaze,” putting passive femininity on display as if to
turn viewers into Don Giovanni himself. I would argue, however,
that other elements of the televised Don Giovanni militate against
this kind of objectification, notably the performative realities
captured by the cameras and the self-referentiality of
the technology itself. The very techniques that seem
to capture characters for our pleasure, like close-ups
and zooms, also highlight the physical efforts of
the singers, whose sweaty contortions and sheer
virtuosity make them poor candidates for
voyeuristic consumption.
Lecture-recital
demonstrating instruments
at the Schubert Club Museum
Maria Rose, New York
—9 —
About Our Abstracts
continued from page 9
Contributors
asexual men like Don Ottavio. At the end of the opera, when Don Giovanni spontane-
Irene Brandenburg received her doctorate ously jumps into the pit of hell, the women have to return to their miserable bourgeois
from the University of Salzburg with a lives. The tragedy is not about Don Giovanni; it is about the women. By demon-
study of the castrato singer Giuseppe strating sympathy for the circumstances of women in patriarchal society, Berghaus
Millico (1737-1802) and has taken part provided the story of Don Giovanni with a new perspective, one that was informed by
in numerous research projects related to her Marxist background but to which she gave a subtle feminist twist—the latter an
the history of music and dance, including aspect of her work hitherto unexplored in scholarship.
the Neue Mozart-Ausgabe and the Gluck
Gesamtausgabe. Since 2009 she has Mozart Lost & Found
been a Senior Scientist in the department Neal Zaslaw, Cornell University
of musicology and dance studies at the
University of Salzburg and curator of the There are perhaps nearly as many works falsely attributed to Mozart as there are
Derra de Moroda Dance Archives. Her works that can be shown beyond a reasonable doubt to be his. Sorting out attribu-
primary research interests include Mozart, tions was one of Ludwig Köchel’s important tasks, and even though now, a century
opera seria, and 18th-century singers. She and a half later, some works that he incorrectly accepted (or incorrectly rejected)
is a co-editor of Gluck-Studien and the as genuine are no longer problematic, attributions remain a problem. As a contribu-
series derra:dance:research. tion toward resolving that problem, I decided that in “Der neue Köchel” works of
questionable pedigree would no longer be given the benefit of the doubt: would no
Mary Robbins, DMA, was principal longer be considered “innocent until proven guilty,” but the opposite. Hence I origi-
pianist for A. Mozart Fest concerts in nally intended to remove each doubtful work from the Catalogue’s main listing to an
Austin, Texas from 1991-2008. Since appendix, pending a demonstration of its genuineness. The policy proves to affect
that time she has composed Twenty-six a troubling number of works, and applying my stated editorial principle proved no
Cadenzas, Lead-ins and Embellishments in easier for me than it had for Köchel or for the editors of subsequent editions of his
Mozart‘s Style for Concertos K.466, K.467, Verzeichnis. Striking advances in knowledge of Mozart and his music made during the
K.482, K.491, K.503 and K.537, and is decades since the appearance of the last edition of the Köchel-Verzeichnis (1964) have
currently completing a Performance Guide arisen (in part) from thoughtful evaluations of Abschriften and their conflicting attri-
to offer with the cadential elaborations for butions. This is a huge project, which the Neue Mozart-Ausgabe began but was unable
publication. An independent scholar and to complete. Successful completion of the task must encompass sources for genuine
pianist, she is also writing about Mozart‘s and questionable works.
use of articulation markings.
—10 —
Mozart, Davide penitente, and Saverio Mattei1
Irene Brandenburg
The authorship of the text of Mozart’s sacred cantata Davide translations nor his later oratorio Davide contain any of the text of
penitente, K. 469, has long been a subject of speculation in Davide penitente, and it has also been noted that the poetic style
Mozart scholarship. Thanks to a remark of Abbé Stadler reported of da Ponte is quite different from that of the text that Mozart set.
by Vincent Novello, Lorenzo da Ponte has been considered the Da Ponte’s authorship has therefore been questioned by Mozart
leading candidate for the authorship of the text, an attribution scholarship from an early date: in 1858 Otto Jahn ascribed the text
that has been often repeated and supported with seemingly well- to “a poet unknown to me,”8 and in 1924 Hermann Abert spoke
founded arguments. Research in connection with a performance of of an “as yet unidentified author,” who “is probably to be found
the work during the Salzburger Mozartwoche 2009 made possible among the poets at the Viennese court.”9
the definitive identification of the author of the text, as will be More recent attempts to identify the author have started from
explained in the following. the close affinity of the text to the Psalms, without being able to
assign it to a specific source.10 In 2003 Bruce Alan Brown reported
Davide penitente was first performed on 13 March 1785 in a a notable find: correctly pointing out that the text belonged to an
concert of the Tonkünstler-Sozietät in the Burgtheater in Vienna. 18th-century Italian tradition of Psalm paraphrases, he located
The story of the work’s origin is well-known: at the beginning of part of the first strophe (lines 2-4) of the aria no. 3, “Lungi le cure
1785 the Tonkünstler-Sozietät asked Mozart for the “preparation ingrate,” in Metastasio’s stage work Il natal di Giove (1740).11
of new choruses, and possibly preceding arias with recitatives,” 2
Finally, in 2008, an on-line exploration of the Italian union
for a Lenten concert. Mozart in response offered first an otherwise catalog SBN (Servizio bibliografico nazionale)12 located the
unknown “Psalm von H: Mozart,” then “another entirely new source of Mozart’s text. A search for the incipits of the texts of
Psalm for Vienna, for which about half the music is already Davide penitente led in the case of “Lunghi le cure ingrate” to
ready,”3 for which he used portions of the Kyrie and Gloria of several sources for a composition by Ercole Paganini, including a
the C minor Mass, K. 427 (417a) of 1783 with a new Italian manuscript score entitled “L’uomo / contento quando è in grazia
text. Besides that he added two new arias (one each for soprano / di Dio / Cantata tratta dal Salmo XCIX tradotto da Save / rio
and tenor) and a cadenza for the three soloists (SST) in the final Mattei.”13 This discovery in turn permitted the identification of
chorus. The following table shows the structure of the work and
4
the source of the text in Mattei’s prominent and widely distributed
the borrowings from the mass: publication Libri poetici della Bibbia. This was a free Italian
translation of the entire Book of Psalms
with commentary that Mattei first
K. 427 (417a) K. 469
published in 1766. Mozart’s text is taken,
Kyrie No. 1 Coro „Alzai le flebili voci“
Gloria: Opening movement No. 2 Coro „Cantiam le glorie“
almost word for word, from Psalms 4, 6,
Gloria: Laudamus te No. 3 Aria „Lungi le cure ingrate“ 7, 33, 67, 96, 99, and 119 (in the Vulgate
Gloria: Gratias agimus tibi No. 4 Coro „Sii pur sempre benigno“ numbering) as rendered by Mattei.
Gloria: Domine No. 5 Duetto „Sorgi, o Signore“ The Neapolitan jurist, theorist, and
No. 6 Aria „A te, fra tanti affanni“ man of letters Saverio Mattei left a
Gloria: Qui tollis No. 7 Coro „Se vuoi puniscimi“ voluminous body of writings on a
No. 6 Aria „Tra l’oscure ombre funeste“ variety of subjects ranging from law,
Gloria: Quoniam No. 9 Terzetto „Tutte le mie speranze“ philosophy, theology, and literature to
Gloria: Jesu Christe / Cum sancto No. 10 Coro „Chi in Dio sol spera“
the discussion of specialized musical
spirito [M. 186–232 new]
topics.14 “Amantissimo della musica,” as
he describes himself,15 he took particular
Until now the questions remained open as to who wrote the new interest in music and theater, as instanced among other things by
Italian text, how precisely these passages were chosen, and if and his writings on Metastasio and Jommelli.16 Mattei further wrote
how much the unknown author collaborated directly with Mozart. texts for musical works such as cantatas for name and birthday
The first clues to his identity came from Abbé Stadler, who celebrations for the King in the Teatro di San Carlo, and he
in 1798 mentioned an “Italian poet” in this connection5 and later, frequently took part through his letters and publications in the
according to Vincent Novello, named Lorenzo da Ponte as the ongoing debate concerning the renewal of Italian opera.
author of the text.6 As the composition of Davide penitente falls Mattei’s most significant work, Libri poetici della bibbia, first
near the beginning of the artistic collaboration between Mozart appeared in Naples in 1766-74 and enjoyed many later editions,
and da Ponte, this seems credible at first glance, particularly often expanded, into the second half of the nineteenth century
since da Ponte was also involved with the Tonkünstler-Sozietät from publishers in Naples and elsewhere in Italy.17 By 1785, the
and in addition had made rhymed Italian translations of some of date of Davide penitente, at least ten editions of the work had
the Psalms similar to those that served as the textual basis for already appeared, indicating a wide distribution, at least in Italy.18
Mozart’s composition. 7
Though the editions vary in contents, distribution into volumes,
Plausible as the ascription to da Ponte might seem initially, typography, and punctuation, the actual text of the Psalms—at
it fails to survive a closer examination. Neither da Ponte’s Psalm continued on page 12
—11 —
Davide penitente out on biographical grounds. Though it cannot be shown that
continued from page 11 another poet, residing in Vienna, was involved in the adaptation
of Mattei’s text for Davide penitente, there is much to be said
least the ones that Mozart employed in Davide penitente—is for Brown’s suggestion “that several hands—including even the
identical in all the editions that were consulted for this study. composer’s—were responsible for assembling these texts.”28 And
Mattei states that these texts were produced with musical setting so we come back to Lorenzo da Ponte, the highly educated and
in mind, and as a great admirer of Metastasio, in explicit homage many-sided poet, who certainly knew Libri poetici della Bibbia.
to the work of the Viennese court poet, in Libri poetici della He could have suggested Mattei’s Psalter to Mozart for Davide
Bibbia Mattei employs poetic forms and metrical patterns typical penitente, and could also have assisted in the choice of suitable
of Metastasian opera texts, as well as those of sacred and secular passages and in adapting them to the music of the C minor Mass.
cantatas, componimenti, and the like. Mattei’s texts were of If the riddle of the authorship of the text of Davide penitente
particular interest to composers with Neapolitan connections, is solved, many questions about the work remain open. Some
as evidenced by a large number of musical settings by such have been raised here, while others have only been hinted at and
composers as Johann Adolf Hasse, Giacomo Insaguine, Niccolò will require more detailed investigation. In particular it would
Jommelli, Giovanni Battista Martini, Giovanni Paisiello, Niccolò be useful to analyze the texts Mozart used in the context of the
Piccinni, Salvatore Ruspoli, and Marco Santucci.19 Neapolitan Psalter to see what new light the conclusions of that
It has yet to be determined how Mozart first encountered examination would shed on Mozart’s composition. It is to be
Mattei’s texts. Certainly Libri poetici della Bibbia was well known hoped that this study will inspire further interest in what until now
in Vienna, with its large community of Italian artists, musicians, has been one of Mozart’s lesser-known sacred works.
litterati, and intellectuals. Mozart could easily have come into
contact with the book by any of a number of routes. Possibly he —translated by SCF
even encountered it indirectly via Metastasio, who was not only
an admirer of Mattei but corresponded with him from 1766 to
1 The present article is an abridged and revised version of my study, “Neues
1781.20 Libri poetici della Bibbia plays an important role in this zum Text von Mozarts Davide penitente KV 469,” in Klang-Quellen. Festschrift
correspondence: Metastasio received the successive volumes of für Ernst Hintermaier zum 65. Geburtstag, ed. Lars E. Laubhold and Gerhard
the original edition (1766-74) and of the second edition of 1773 Walterskirchen (Munich, 2010), 209-229.
directly from Mattei, and the letters show that he admired the texts 2 “Verfertigung neuer Chöre, und allenfalls vorgehenden Arien mit Recitativen,”
cited after Wolfgang Amadeus Mozart, Neue Ausgabe sämtlicher Werke [= NMA],
and personally arranged for the musical setting of several of them. I/4/3, Davide penitente, ed. Monika Holl (Kassel, 1987), xi.
Not only did Hasse set part of Psalm 41 at Metastasio’s urging,21 3 “...so bietet derselbe dagegen einen andern für Wienn ganz neuen Psalm an, der
but Metastasio’s protegée Marianna Martines composed several jedennoch nur um eine Helfte der Musik auszumachen hinreichend ist.” NMA I/4/3, xi.
settings of Mattei’s Psalms.22 As he had dealings with her family, 4 See also NMA I/4/3, ix.
5 Abbé Maximilian Stadler. Seine Materialien zur Geschichte der Musik unter
Mozart might have encountered Libri poetici della Bibbia through den österreichischen Regenten. Ein Beitrag zum musikalischen Historismus
Martines. (She was also connected to the Tonkünstler-Sozietät, im vormärzlichen Wien, ed. Karl Wagner (Kassel, [1974]) (Schriftenreihe der
which had premiered her oratorio Isacco figura del Redentore, to Internationalen Stiftung Mozarteum, 6), 138.
Metastasio’s text, in 1782.)23 6 A Mozart pilgrimage, being the travel diaries of Vincent & Mary Novello in
the year 1829, ed. Nerina Medici di Marignano and Rosemary Hughes (London,
Equally likely is the possiblity that it was the Tonkünstler- [1955]), 158.
Sozietät itself that proposed Mattei’s text to Mozart. As early as 7 These translations appeared in Dresden in 1780. See NMA I/4/3, xv.
1847 Alexander Oulibichev had reported that the music to Davide 8 “[Von] einem mir unbekannten Dichter.” W. A. Mozart (4 v., Leipzig, 1856-59),
penitente was “fitted to an Italian text that the Gesellschaft gave to v. 3 (1858), p. 395. See also Ulrich Konrad, Mozart-Werkverzeichnis (Kassel, 2005),
27: “Textdichter unbekannt.”
[Mozart].”24 Sacred vocal works to Italian texts appeared regularly 9 “[Der] bisher unbekannt gebliebene Verfasser...wohl unter den Wiener
on the programs of the Tonkünstler-Sozietät, as the organization Hofdichtern zu suchen ist.” Hermann Abert, W. A. Mozart. Neubearbeitete und
took a particular interest in promoting Italian oratorio.25 It is erweiterte Ausgabe von Otto Jahns Mozart (2 v., Leipzig, 1924), v. 2, p. 151.
extremely likely that the leadership of the society was familiar 10 See (among others), NMA I/4/3, xiv; Marius Flothuis, Mozarts Bearbeitungen
eigener und fremder Werke (Kassel, 1969) (Schriftenreihe der Internationalen
with Mattei’s Libri poetici della Bibbia, even though no other Stiftung Mozarteum, 2), 30; Otmar Tönz, “Zum Text des ’Davide penitente,’”
text by Mattei has been identified among the works that they Mozart 1991. Die Kirchenmusik von W. A. Mozart in Luzern, ed. Alois Koch
performed.26 (Luzern 1992), 169-185, esp. 171, 175.
Despite all the speculation, the question of how Mattei’s 11 Bruce Alan Brown, “Mozart, Da Ponte, and the tradition of Italian psalm
paraphrases: The case of Davide penitente, K. 469,” paper read at the Annual
Neapolitan Psalms came to Mozart in Vienna cannot be Meeting of the American Musicological Society, Houston, 2003. An abstract appears
definitively answered. In concluding this discussion, one may on p. 105 of the “Program and Abstracts” booklet for the meeting, still available at
recall the earlier descriptions of the origin of the work, which www.ams-net.org/abstracts/2003-Houston.pdf. I am indebted to Professor Brown for
perhaps may offer further clues. It has been assumed that Mozart making his unpublished MS. available to me.
12 As of 28 July 2011 at www.iccu.sbn.it.
composed Davide penitente in Vienna in collaboration with a 13 Napoli, Biblioteca del Conservatorio di musica S. Pietro a Majella, Cantate 208.
poet who either composed the Italian text afresh or adapted his I wish to thank Lucio Tufano for his kind assistance in my researches.
own earlier text for the work, retexting the numbers from the C 14 Mattei has been the subject of a number of studies, particularly in the areas of
minor Mass and providing words for the new arias.27 The fact that Italian musical and theatrical history. A good bibliography of Mattei’s writings and
of the literature about him appears in Rosa Cafiero, “Saverio Mattei,” Die Musik
this text comes from Mattei’s Libri poetici della Bibbia places in Geschichte und Gegenwart, ed. Ludwig Finscher (29 v., Kassel 1994-2008),
these suppositions in a new light. A collaboration between Mozart Personenteil, v. 11 (2004), col. 1325ff. To the literature listed there should be
and the author of the text, that is, Mattei himself, can be ruled
continued on page 14
—12 —
REVIEW
John Irving, mentions important contexts but without staccatissimos, etc. strictly according to the
Understanding Mozart’s Piano Sonatas any focus on them (for example, on the notated score.”
(Farnham, Surrey, England; Burlington, relation of the sonatas’ musical “materials, In response: This reviewer would argue
VT: Ashgate, 2010) pitches and durations, articulation marks, that this statement more aptly describes
Reviewed by Mary Robbins textures, dynamics, tempos”). Another Mozart’s notation (although all composers’
context that is represented only in mention notation deserves careful scrutiny of, and
As may be the case with many Mozart is “analytical contexts” (which Irving appropriate responses to its directives).
Society of America members, John states may be “assumed a priori”). He With all respect to Irving, his statement
Irving’s appreciation of Mozart’s music establishes a context of himself as the seems to imply that he does not perceive
began in childhood. In Irving’s fifth book book’s author, and mentions contexts of “a Mozart’s directives, especially in his
about Mozart, Understanding Mozart’s particular text, instrument, place (or) time.” articulation markings, to be crucial for
Piano Sonatas (2010, Ashgate), he gives a Irving discusses the context of notation in understanding or performing his music.
delightful recounting of his early lessons relation to “performance…as a…historical
on Mozart’s Minuet, K.2 on an upright context.” Historicity of performance • Also in Pretexts, in a section titled
piano with a local piano teacher in the is a broad context in which discussion Why Not Theory, Irving asserts: “…
north of England, where he realized “there of sonata forms includes “binary-form performance [of Mozart’s music]…tends to
was some quality…in this composer’s thinking” in regards to sonatas as reflecting deepen one’s awareness of its unsystematic
short piece that was lacking in everything a context of social cause. nature.”
else I had learnt up to that point (which This review examines Irving’s book In response: Mozart’s music (perhaps more
was not very much).” Since then, Irving in terms of its effectiveness in establishing than that of any composer) exemplifies
has devoted a distinguished career to understanding through the approach an extraordinary coordination of many
studying the music of Mozart and his described, and also considers the book’s systematic aspects—including the system
period and to performing 18th-century contributions otherwise to scholarship of triadic tonality in use in his time and
music on historical instruments. Irving is concerning the sonatas. An organizing his particular systematic use of harmony,
now Director of the Institute of Musical principle in the book is a consistent slant rhythm, motives of various kinds,
Research in the School of Advanced Study, in Irving’s discussions in support of an dynamics and articulation markings—to
University of London. In August 2011, he aspect of variation involving diminutions name a few. Irving’s statement seems
will be Professor of Music History and of note values that Irving finds especially to reveal a lack of attention to Mozart’s
Performance Practice at Canterbury Christ applicable to melodies in Mozart’s sonatas. musical language and its unique systematic
Church University. The following statements would seem to parlance.
In the book’s Preface Irving gives the serve as premises underlying Irving’s view
reader some idea of what the book is about. on such embellishments, although many • In the chapter titled Contexts, Irving
For example, he says that he “has not readers (including this reviewer) may find shifts the focus from Mozart’s music to the
yet discovered how to reconcile studying points of disagreement with the statements. performer (italics by the reviewer): “…a
and playing Mozart’s music.” In chapters For this reason, I have added a response to text of a Mozart sonata has meaning…
titled Pretexts; Contexts; Horizons of each of the statements: in relation to...our training, experience
Understanding; Editions; Approaching the and memory;” “certain details in the
Texts; Instruments; Embellishing Mozart’s • In the Preface Irving states: “Many score function…as a foundation for
Texts; and Epilogue: Listening to Texts, of Mozart’s piano works began as creative interpretation” [according to the]
Irving touches on topics ranging from improvisations; their notation cannot “authority…of the reader [as] …an agent
notation to ethics, from historical contexts therefore be paramount.” in the production of a text’s meaning.” “I
to existentialist views. This is in keeping In response: This statement runs counter to would like to propose that in the realm of
with Irving’s statement that he “makes no a plethora of crucially important musical music performance carries that authority.”
claims…for comprehensiveness” in the considerations revealed to us through In response: Although the performer’s
book and states that the focus of his writing Mozart’s notation, which he took great creativity is fully engaged in Mozart
“shifts radically and often (sometimes pains to write down (“all those wearisome performance, it is not given carte blanche,
abruptly).” True to these statements, little notes” as he said in his letter of April but instead is best enjoined with Mozart’s
Irving’s writing style often tends toward 29, 1782). music from an informed perspective from
that of a discontinuous metadiscourse, the inside out. In the MSA newsletter
with some points being followed up while • In the chapter titled Pretexts, Irving Guest Column of August, 2002, Robert
others are not, a style that perhaps best describes notation in Mozart’s music as Levin says such a perspective results from
accommodates his choice as stated in his inverted in value compared to that of Liszt, “extensive training in composition, syntax,
Preface to introduce a “broad range of where: “(in Liszt’s music)…notation is… rhetoric and…music theory.” The reader
contexts within which …to understand precisely crafted; you have not only to… may also wish to refer to Eva and Paul
Mozart’s piano sonatas.” play all the notes, but also to control finely Badura-Skoda’s extensive information on
In the first chapter, Pretexts, Irving graded dynamics, pedallings, legatos, continued on page 14
—13 —
Davide penitente REVIEW of Mozart’s sonatas because the loss
continued from page 12 continued from page 13 of Mozart’s stylistic communication
represented in his notation resulted in a
added Lucio Tufano, “Lettere di Saverio Mattei a
loss of understanding of his music. Irving’s
padre Martini (con una digressione su Salvatore
embellishments supplied by the performer discussion perhaps could have been made
Rispoli),” in Napoli musicalissima. Studi in onore in the second edition of their book, more effective by relating how these
del 70o compleanno di Renato Di Benedetto, ed. Interpreting Mozart, in which they stress changes and resulting loss still resonate
Enrico Careri und Pier Paolo De Martino (Lucca that superfluous notes have no place in
2005), [91]–118.
in our time and continue to impede
15 Saverio Mattei, I libri poetici della bibbia
Mozart’s music, and that “in the rare cases understanding of Mozart’s music, including
tradotti dall’ebraico originale, e adattati al gusto where Mozart wanted alterations in…solo his piano sonatas.
della poesia italiana (5 v., Napoli: Stamperia sonatas at the second hearing, [he] wrote Fortunately, through the research
Simoniana, 1766-74), v. 1 (1766), “Della musica them down” (p. 219).
antica,” 139.
of the Neue Mozart-Ausgabe and the
16 Most notably in Memorie per servire alla vita Bärenreiter print edition, Mozart’s
del Metastasio ed elogio di Niccolò Jommelli Beyond the area of embellishments, articulation markings from his autographs
(Colle: Martini, 1785, reprint: Bologna, 1987); the Irving’s writing as a historian is or earliest sources are available for today’s
Elogio del Jommelli also appears in facsimile in noteworthy, especially in the book’s
Marita P. McClymonds, Niccolò Jommelli: The last
listeners and performers alike to study in
years (Ann Arbor, 1981) (Studies in Musicology
chapter on early editions which “afford order to cultivate and restore understanding
23), Appendix VIII, pp. 766–842. us some insight into the mindset of the of this specific aspect of his musical
17 A detailed list appears in the German version of time… incorporating a record of deliberate language. Unfortunately, however, the
this study, 216. choices made on several levels, all of
18 Besides the first edition already referenced,
markings’ availability does not insure
the editions Napoli: Stamperia Simoniana, 1773;
which were nearly contemporary with they are being studied, or yet understood
Napoli: Giuseppe Maria Porcelli, 1779-80; and the act of composition and made in the and observed (as Levin also pointed out
Napoli and Macerata: Luigi Chiappini and Antonio very city where the music was written.” in his MSA Guest Column). Surely we
Cortesi, 1779-81, were consulted for this study. Particularly interesting is information
19 See Paolo Fabbri, “Saverio Mattei: un profilo
would all wish to know and appreciate
bio-bibliografico,” in Napoli e il teatro musicale
regarding changes found in editions by how Mozart intended his music to sound,
tra Sette e Ottocento. Studi in onore di Friedrich Artaria, Toricella, Potter and Cramer that which we can hear only through the
Lippmann, ed. Bianca Maria Antolini and Wolfgang depart from Mozart’s autographs. These ongoing relationships of effects indicated
Witzenmann (Firenze 1993), 121-44. changes perhaps reflect swiftly changing
20 56 letters from Metastasio to Mattei dated
by his somewhat unique use of markings.
from 1 April 1766 to 3 August 1781 appear in
styles in Mozart’s time, and editors’ In Mozart’s music, the effect of a single
Brunelli’s edition of Metastasio’s works. See Pietro attempts to adapt his music into styles articulation marking gains significance in
Metastasio, Tutte le Opere, ed. Bruno Brunelli (5 that differed from his own. Or perhaps relation to other markings to create sound
v., [Verona], 1947-54,) v. 5, p. 927. On Metastasio the changes reflect editors’ attitudes that
and Mattei see also the chapter “Saverio Mattei
gestures that may communicate humor or
and the Psalm Motets” in Irving Godt, Marianna
Mozart’s music had a certain provisional pathos (for example), or produce a series
Martines: A woman composer in the Vienna of nature and could be thus changed of inflections resembling speech patterns
Mozart and Haydn, ed. with contributions by John according to their opinions (of “correct that communicate the music’s emotional
A. Rice (Rochester, 2010). I wish to thank Professor notation” as Potter put it in 1848).
Rice for making this study available to me before
content. These relationships of sounds
its publication.
In any case, Irving’s writings about that Mozart indicated in his articulation
21 See Metastasio’s letter to Mattei of 14 August changes in the early editions importantly markings are our closest proximity possible
1769 in Metastasio, Opere, v. 4, no. 1800, p. 761. pinpoint a historical ‘moment’ when to his music—they show his thoughts of
Hasse based the Duet Sopra il Verso 12.13.14.15. Mozart’s consistent use of markings that
del Salmo 41 (Neapel, Biblioteca del Conservatorio
it as he ‘heard’ and notated it. Thus they
di musica S. Pietro a Majella, Mus. Rel. 168/09) on
indicated how his music should sound reveal a depth of understanding of his
Mattei’s text. was first corrupted. (Irving’s assumption music beyond what we can imagine (or find
22 See Irving Godt, “Marianna in Vienna: A that Mozart might have made some of the in other contexts), despite our separation
Martines Chronology,” Journal of Musicology 16 changes is unsubstantiated). Mozart well
(1998): 136-58.
from it by historical distance and
23 See Eduard Hanslick, Geschichte des
knew the effects that would be created by myriad contextual differences including
Concertwesens in Wien (Wien, 1869), 32, and his highly specific notation of articulation instruments, halls and other socially related
Carl Ferdinand Pohl, Denkschrift aus Anlass markings (when actualized by performers concepts and constructs.
des hundertjährigen Bestehens der Tonkünstler- in his time who commonly knew how to
Societät, im Jahre 1862 reorganisiert als „Haydn“,
Irving points out an example of
Witwen- und Waisen-Versorgungs-Verein der
respond to them as explained in historical stylistically damaging consequences from
Tonkünstler in Wien (Wien, 1871), 60. sources such as Türk’s Klavierschule, oder changed articulation markings in the 1787
24 Alexander Oulibichev, Mozart’s Leben, nebst Anweisung zum Klavierspielen für Lehrer Artaria edition of K. 333: where in bar
einer Uebersicht der allgemeinen Geschichte der und Lernende). After the editions’ changes,
Musik und einer Analyse der Hauptwerke Mozart’s,
56 of the Andante cantabile Mozart’s slur
(3 v., Stuttgart, 1847), v. 1, p. 210.
however, no one could respond to Mozart’s “highlights the downbeat dissonance,”
25 See NMA I/4/3, x, and Hanslick, Geschichte des intentions because they were no longer in Artaria’s changed slurs instead shift
Concertwesens, 19-28. the score. emphasis away from the downbeat,
26 See Hanslick, Geschichte des Concertwesens, This reviewer regards Irving’s
30-35, and Pohl, Denkschrift, [57]-66.
bringing focus to dissonance elsewhere
27 See Flothuis, Mozarts Bearbeitungen, 29, and
discussion of the changes in early editions in the measure. As Irving says, whereas
NMA I/4/3, xiv, xi. as pertinent to his search for understanding Mozart’s use of slurs had “suggested a
28 Brown, “Mozart, Da Ponte,” 3.
—14 —
degree of …relaxation” Artaria’s instead the pianos by Stein that Mozart praised for
“imports a degree of accentual intervention their clean and immediate damping upon
at two points, and counterpoints this
against an added harmonic prominence for
the release of a note. Certainly, the role of
these instruments was crucial in Mozart’s Marrying Mozart
the left hand on beat 2.” Irving’s example sonatas, and ideally we would all enjoy
shows that changes to Mozart’s slurs a Mozart-era fortepiano on which to play One of our speakers in
nullified their intent (a violation that also, them (as well as suitable performance Minneapolis/St. Paul will be
I would say, demonstrates his markings’ spaces). Stephanie Cowell, author of the
non-provisional nature). Does Irving’s book bring an novel Marrying Mozart. The Los
Today, it is not broadly understood understanding of Mozart’s sonatas? This Angeles Times called Marrying
that each of Mozart’s articulation reviewer found that his exploration of Mozart “a charming novel, so
markings in his autographs indicates a other contexts in relation to the sonatas much so that one would enjoy it
specific action and its effect, to be created tended instead to disclose degrees of even if the gentleman involved
by the performer (who understands separation between them, and that—at in these girls’ lives were not one
the necessary response). In this way best—this approach could only inform an of the greatest geniuses in the
Mozart’s markings indicate a built-in and understanding as related to the sonatas history of music. It also has the
highly specific ‘interpretation’ for his (among other things, their history) virtue of offering a believable
music. This interpretation is in absolute rather than of the works themselves. and appealing portrait of Mozart
agreement with and further defines his This reviewer also found Irving’s view himself. A perfect harmony of
music’s rhythmic, harmonic and dynamic of embellishments (which Irving places fact, fiction.” Participants in our
workings—as the music happens. His within the context of a performer’s creative conference are urged to prepare
notation of the markings is thus not a status being equal to, or above, Mozart’s) for Cowell’s presentation by
generalized concept (nor something that lacking in relation to a necessary focus reading Marrying Mozart before
Mozart “overlays” onto the score as Irving on Mozart’s communication (described coming to Minnesota.
puts it), but instead is an of-the-moment above), as well as in relation to a work’s
aspect of communication that is precisely architectural expression, a necessary
what we can identify (both aurally and larger view beyond variations in repeats
intellectually) as Mozart’s style. that is not discussed in this book. As
This crucial aspect of communication Irving points out, there are many types
relates to Irving’s question of “how
to reconcile studying and playing
of understanding. This brings to mind
Mozart’s letter of 28 December 28 1782 in
Discount for
Mozart’s music.” At the heart of such which he acknowledged that his audience Mozart Society
Members
a reconciliation is a certain and central comprised listeners of different levels of
intent that is missing in Irving’s search for understanding: “there are passages here
understanding Mozart’s piano sonatas: an and there that only connoisseurs can fully
intent to be open to what Mozart’s music appreciate—yet the common listener will Cambridge University Press is
is communicating. This intent compels find them satisfying as well, although offering members of the Mozart
us to the necessary (and sometimes without knowing why.” For a book Society of America subscriptions
to Eighteenth-Century Music at a
challenging) tasks of choosing Mozart’s seeking understanding of Mozart’s piano
20 per cent discount. Thus a print
original sources because they contain his sonatas, an in-depth exploration of their subscription may be purchased for
directives, studying those directives’ role particular expression through consistent US$26 or £16. Simply state that
in his systematic expression, learning their and systematic use of musical components you are a member of the Mozart
effects, and—for performers—training is absolutely necessary for reaching a Society of America and e-mail
how to play them and then doing so with connoisseur level of understanding. your request as follows:
an acutely attuned ear to what these effects However, Irving brings to light the
Members based in
are expressing as the music unfolds. This early editions’ changes to the sonatas, North America:
intent provides focus to studying as well thereby clarifying those editions’ role in Send request to
as to performing Mozart’s music, and is a forging an unfortunate impediment to subscriptions_newyork@
path to its understanding. understanding Mozart’s music that has cambridge.org
Irving’s book contains notable continued for far too many generations.
Members based outside of
descriptions of fortepianos in Mozart’s Thus Irving has contributed to an important
North America:
time (pp. 105-10) in which he discusses understanding of a different kind than Send request to journals@
important distinctions in the sound stated in his Preface, the understanding cambridge.org
qualities of instruments that Mozart that it is our privilege to study what Irving
regularly played. Irving also eloquently calls Mozart’s ‘composing manuscripts’ in Customer service will then
describes instruments by makers of order to appreciate his choices that define complete the subscription
process.
Mozart’s own fortepianos, such as a Walter his style of communication in his piano
instrument made shortly after 1780, and sonatas, and indeed in all his music.
—15 —
Literature on Mozart Published in English in 2010
Compiled by Cheryl Taranto, University of Nevada, Las Vegas
Korstvedt, Benjamin M. Listening for Utopia in Ernst Bloch’s Hunter, Mary. “Nobility in Mozart’s Operas.” In Art and Ideology
Musical Philosophy. Cambridge: Cambridge University Press, in European Opera: Essays in Honour of Julian Rushton, edited
2010. by Rachel Cowgill, David Cooper, and Clive Brown, 176-193.
Woodbridge: Boydell Press, 2010.
Levi, Erik. Mozart and the Nazis: How the Third Reich Abused a
Cultural Icon. New Haven: Yale University Press, 2010. Kahn, Gary. “A Brief Performance History.” In Idomeneo:
Wolfgang Amadeus Mozart, 31-41. Surrey: Overture, 2010.
Lindenberger, Herbert. Situating Opera: Period, Genre,
Reception. Cambridge Studies in Opera. Cambridge: Cambridge Szabó-Knotik, Cornelia. “’Zu viele Noten, Mozart’: Anecdotes,
University Press, 2010. Music History’s Conventional Wisdom.” In Musicological
Studies Proceedings, No. 3, 377-86. Belgrad: Fakultet Muzičke
Mozart, Wolfgang Amadeus. Idomeneo: Wolfgang Amadeus Umetnosti, 2010.
Mozart. Overture Opera Guides. Edited by Gary Kahn. Translated
by Stewart Spencer. Surry: Overture, 2010. Till, Nicholas. “Idomeneo and the Background of the
Enlightenment.” In Idomeneo: Wolfgang Amadeus Mozart, 9-16.
Nettl, Paul. Mozart and Masonry. New York: Welcome Rain, Overture Opera Guides. Surrey: Overture, 2010.
2010.
Waltz, Sarah Clemmens. “The Use of Apocrypha.” In
Salfellner, Harald, ed. Mozart: An Illustrated Life. Translated by Musicological Studies: Proceedings no. 3, 84-96. Beograd:
Nicola Farley. Mitterfels: Vitalis, 2010. Fakultet Muzičke Umetnosti, 2010.
—16 —
Campbell, Carey. “Should the Soloist Play during the Tuttis of Koster, John. “Among Mozart’s spättischen Clavier: A Pandaleon-
Mozart’s Clarinet Concerto?” Early Music 38 (August 2010): Clavecin by Frantz Joseph Spath, Regensburg, 1767?” Early
423-36. Keyboard Journal 25-26 2010: pgs. 153-223.
Chapman, David. “Tuning Variations as a Guide to Bass-Line Kramer, Lawrence. “Music Recomposed: Remarks on the History
Instrumentation in the Orchestral and Solo Literature for the of the Same.” Journal of Music Theory 54 (Spring 2010): 25-36.
Eighteenth-Century Contrabass Violon.” Ad Parnassum: A Lehmann, Andreas C., and Reinhard Kopiez. “The Difficulty
Journal of Eighteenth- and Nineteenth-Century Instrumental of Discerning between Composed and Improvised Music.” In
Music 8 (October 2010): 53-96. “Understanding Musical Structure and Form: Papers in Honour
of Irène Deliège.” Special issue, Musicæ Scientiæ: The Journal of
Chrissochoidis, Ilias. “London Mozartiana: Wolfgang’s Disputed the European Society for the Cognitive Sciences of Music (2010):
Age and Early Performances of Allegri’s Miserere.” Musical 113-29.
Times 151 (Summer 2010): 83-89.
Loomis, George W. “Seeing Genius.” Opera 61 (August 2010):
Dammann, Guy. “Opera and the Limits of Philosophy: On 941-44.
Bernard Williams’s Music Criticism.” The British Journal of
Aesthetics 50 (Oct 2010): 469-479. Lowe, Melanie. “Teaching Music History Today: Making Tangible
Connections to Here and Now.” Journal of Music History
Dawson, William J. “Wolfgang Amadeus Mozart: Controversies Pedagogy 1 (2010): 45-59.
Regarding His Illness and Death, A Bibliographic Review.”
Medical Problems of Performing Artists 25 (June 2010): 49-53. Marsden, Alan A. “Schenkerian Analysis by Computer: A Proof of
Concept.” Journal of New Music Research 39 (September 2010):
Dohan, Emily I. “Haydn, Hoffmann, and the Opera of 269-89.
Instruments.” Studia musicologica: An International Journal
of Musicology for the Hungarian Academy of Sciences 51 Nussbaum, Martha C. “Equality and Love at the End of The
(September 2010): 325-46. Marriage of Figaro: Forging Democratic Emotions.” Journal of
Human Development & Capabilities 11 (August 2010): 397-423.
Faust, Geoffrey M. “Don Giovanni, Mozart’s Musical Con Man.”
Interdisciplinary Humanities 27 (Spring 2010): 46-56. Ordasi, Péter. “The Examples of Axis-Order Functional Thinking
in the Works of Zoltan Kodály.” Studia universitatis Babeş-Bolyai:
Gingerich, John M. “Ignaz Schuppanzigh and Beethoven’s Late Musica 55, 1 (2010): 145-163.
Quartets.” The Musical Quarterly 93 (Fall Winter 2010): 450-513.
Ridgewell, Rupert M. “Biographical Myth and the Publication
Grave, Floyd K. “Mozart’s Problematic Rondos.” In “Honoring of Mozart’s Piano Quartets.” Journal of the Royal Musical
Prof. Bathia Churgin in Her 80th Year,” ed. Adena Portowitz. Association 135 (2010): 41-114.
Special issue, Min-Ad: Israel Studies in Musicology Online 8, no. 1
(2010). www.biu.ac.il/hu/mu/min-ad/ (accessed 9 July 2011). Stewart-MacDonald, Rohan H. “Mozart Early and Late.” Early
Music 38 (May 2010): 319-22.
Hocradner, Thomas. ‘Image Sharpness Versus Loss of the Frames:
Readings of Textual Criticism in Mozart’s Church Music.” Stoneham, Marshall, Tony Harker, Bastiaan Blomhert, and Nessa
Translated by Adriana De Feo. Philomusica on-line: Rivista del Glen. “What Constitutes Proof: Challenges in Wind Harmony
Dipartimento di scienze musicologiche e paleografico-fiolologiche Music.” Interdisciplinary Science Reviews 35 (June 2010): 122-37.
9, no. 2 (2010). http://riviste.paviauniversitypress.it/index.php/
phi/article/view/647/pdf_7 (accessed 9 July 2011). Temperley, David. “Modeling Common-Practice Rhythm.” Music
Perception 27 (June 2010): 355-376.
Ivanovitch, Roman. “Recursive/Discursive: Variation and Sonata
in the Andante of Mozart’s String Quartet in F, K. 590.” Music Reviews
Theory Spectrum: The Journal of the Society for Music Theory 32
(Fall 2010): 145-64. Baker, Evan. Review of Freihaustheater in Wien (1787-1801):
Wirkungsstätte von W.A. Mozart und E. Schikaneder—Sammlung
Jan, Steven B. “Memesatz contra Ursatz: Memetic Perspectives der Dokumente by Tadeusz Krzeszowiak. Notes 67 (September
on the Aetiology and Evolution of Musical Structure.” Musicæ 2010): 116-8.
Scientiæ: The Journal of the European Society for the Cognitive
Sciences of Music 14, 1 (2010): 3-50. Burton, Deborah. Review of Mozart on the Stage, by John A.
Rice. Notes 66 (June 2010): 799-801.
Jenkins, John S. “Mozart and the Castrati.” The Musical Times
151, 1913 (Winter, 2010): 55-68. Gabriel, Sean. Review of The Early Flute: A Practical Guide,
by Rachel Brown. BACH: Journal of the Riemenschnedier Bach
Knyt, Erinn E. “’How I Compose’: Ferruccio Busoni’s Views Institute 41, 1 (2010): 101-2.
about Invention, Quotation, and the Compositional Process.”
The Journal of Musicology 27 (Spring 2010): 224-63.
continued on page 18
—17 —
Publications Ridgewell, Rupert. Review of Die Zauberflöte K. 620: Facsimile
continued from page 17 of the Autograph Score, Staatsbibliothek zu Berlin – Preubischer
Kulturbesitz (Mus. Ms. Autogr. W.A. Mozart 620, introductory
essay by Hans Joachim Kreutz, musicological essay by Christoff
Gonzalez, Joan G. Review of Mozart, Haydn and Early Wolff. Fontes Artis Musicae 57 (Oct.-Dec. 2010): 435-437.
Beethoven,1781-1802, by Daniel Heartz. Eighteenth-Century
Studies 43 (Summer 2010): 540-1. Schmidt, Matthias. Review of Bach’s Cycle, Mozart’s Arrow:
An Essay on the Origins of Musical Modernity, by Karol Berger.
Grave, Floyd K. Review of The Century of Bach and Mozart: Eighteenth-Century Music 7 (March 2010): 107-9.
Perspectives on Historiography, Composition, Theory and
Performance in Honor of Christph Wolff, edited by Sean Woodfield, Ian. Review of Mozart on the Stage, by John A. Rice.
Gallagher and Thomas Forrest Kelly. Ad Parnassum: A Journal of Eighteenth Century Music 7 (March 2010): 126-8.
Eighteenth- and Nineteenth-Century Instrumental Music 8 (April
2010): 142-6. Wright, Warren Keith. Review of Idomeneo: Wolfgang Amadeus
Mozart. Opera 61 (11): 1140-1.
Howard, Patricia. Review of Marianna Martines: A Woman
Composer in the Vienna of Mozart and Haydn, by Irving Godt. Dissertations and Theses
The Musical Times 151 (Winter, 2010): 112-4.
Arceneaux, Alicia R. “By Hook or by Crook: A Study of Hand-
Keefe, Simon P. Review of The Mozart Cache: The Discovery and Horn Technique and its Relevance for W.A. Mozart’s ‘Concerto
Examination of a Previously Unknown Collection of Mozartiana, no. 3 in E-Flat Major,” K. 447, 1. Allegro, and L. van Beethoven’s
by Daniel N. Leeson. Music and Letters 91 (Feb 2010): 105-7 “Sonata for Horn in F-Major,” Opus 17, 1. Allegro.” M.M. thesis,
University of Louisiana at Lafayette, 2010.
Levin, Robert D. Review of Bach’s Cycle, Mozart’s Arrow: An
Essay on the Origins of Musical Modernity, by Karol Berger. Bakulina, Olga. “Polyphony as a Loosening Technique in Mozart’s
Journal of the American Musicological Society 63 (Fall 2010): ‘Haydn’ Quartets.” M.A. thesis, McGill University, 2010.
658-84.
Chiang, I-Chung. “A Historical Technique from a Modern
Lowe, Melanie. Review of The Century of Bach and Mozart: Perspective: The Transcription Scordatura in Mozart’s Sinfonia
Perspectives on Historiography, Composition, Theory and Concertante for Violin, Viola and Orchestra in E-Flat Major, K.
Performance in Honor of Christoph Wolff, edited by Sean 364.” DMA diss., University of Cincinnati, 2010.
Gallagher and Thomas Forrest Kelly. Notes 66 (March 2010): 544-
46. Gibbons, William. “Eighteenth-Century Opera and the
Construction of National Identity in France, 1875-1918.” Ph.D.
Marston, Nicholas. Review of The Symphony in Beethoven’s diss., University of North Carolina, Chapel Hill, 2010.
Vienna, by David Wyn Jones. Journal for Eighteenth Century
Studies 33 (March 2010): 127-31. Goodchild, Meghan. “Formal Strutctures in the Solo Keyboard
Music of J.C. Bach and Their Influence on Mozart.” M.A. Thesis,
Mikusi, Balázs. Review of Metric Manipulations in Haydn and McGill University, 2010.
Mozart: Chamber Music for Strings, 1787-1791, by Danuta Mirka.
Notes 67 (December 2010): 346-8. Hudson, Sharon J. “Performance Insights for Mozart Piano
Sonatas Derived from Eighteenth-Century Compositional
Montagnier, Jean-Paul C. Review of De Lully à Mozart; Guides.” DMA diss., University of Illinois at Urbana-Champaign,
Aristocratie, musique et musiciens à Paris (XVIIe-XVIIIe siècles, 2010.
by David Hennebelle. Eighteenth Century Music 7 (September
2010): 287-8. Nuzova, Irina. “Interpretation of Mozart on the Modern Piano:
Insights through Practicing on the Fortepiano.” DMA diss.,
Proksch, Bryan. Review of Bach’s Cycle, Mozart’s Arrow: An University of Hartford, 2010.
Essay on the Origins of Musical Modernity, by Karol Berger.
Fontes artis musicae 57 (Jan-March 2010): 126-8. Schrempel, Martha. “Teaching Expressivity at the Piano: History,
Signs, and Strategies.” DMA diss., Temple University, 2010.
Repp, Bruno. Review of Metric Manipulations in Haydn and
Mozart: Chamber Music for Strings (1787-1791), by Danuta Sivan, Noam. “Improvisation in Western Art Music: It’s Relevance
Mirka. Music Perception: An Interdisciplinary Journal 28 Tody.” DMA diss., Juilliard School, 2010.
(December 2010): 201-4.
Walker, Anne. “Mozart: A Musical Advocate.” DMA diss.,
Rice, John A. Review of Mozart’s Cosi fan tutte: A Compositional Arizona State University, 2010.
History, by Ian Woodfield. Eighteenth Century Music 7 (March
2010); 128-30 Zajkowski, Roberta. “The Piano and Wind Quintets of Mozart and
Beethoven: Reception and Relationship.” DMA diss., The Ohio
State University, 2010.
—18 —
Calendar
Compiled by Isabelle Emerson, University of Nevada, Las Vegas
—19 —
Calendar Long Beach Mozart Festival, Mostly Mozart Festival,
continued from page 19 5450 Atherton Street, Long Beach, CA New York City, Lincoln Center.
90815, Leland Vail, Artistic Director; Website: www.mostlymozart.com; or
Friends of Mozart, Inc. New York City. Tel: (562) 439–4073, e-mail: lelandvail@ www.new.lincolncenter.org/live/index.php/
P.O. Box 24, FDR Station, New York, yahoo.com; lvail@csulb.edu. Website: mostly-mozart.
NY 10150 Tel: (212) 832–9420. Mario www.longbeachmozartfestival.org.
Mercado, President; Erna Schwerin, National Marionette Theatre, Prague.
Founding President. Friends of Mozart Long Island Mozart Festival, Year round performances of Don Giovanni
sponsors concerts and also publishes The Chamber Players International, Old and occasionally of The Magic Flute.
newsletters and informative essays for its Westbury, New York. Tel: (877) 444–4488. Website: www.mozart.cz.
members. Admission free to all events. Website: www.longislandmozartfestival.org.
For further information, see the website: OK Mozart International Festival,
www.friendsofmozart.org, or contact Mario Mainly Mozart, San Diego. P.O. Box P.O. Box 2344, Bartlesville, OK 74005.
Mercado, mario.r.mercado@aexp.com. 124705, San Diego, CA 92112-4705 Business Office: 918 336 9900; Ticket
Tel: (619) 239-0100. David Atherton, Office: 918 336 9800. Website:
Harvard-Radcliffe Mozart Society Artistic Director. Performances by the www.okmozart.com.
Orchestra. Boston. Student-run, Mainly Mozart Festival orchestra, chamber
professionally conducted chamber music, recitals, educational concerts, and Salzburg Festival, 27 July – 30 August
orchestra founded in 1984. Website: lectures. Call for information about other 2011, and 25 – 28 May 2012 (Whitsunday).
www.hcs.harvard.edu/%7Emso/index.html. series offered by Mainly Mozart. Website: www.salzburgerfestspiele.at
Website: www.mainlymozart.org.
Saoü chante Mozart, Southeast France.
FESTIVALS Midsummer Mozart Festival, June - July, concerts in different towns in
San Francisco. Tel: (415) 627–9141. the Drôme department of Provence.
Bath Mozartfest, 11–19 November 2011, Fax: (415) 627–9142. George Cleve, Music Henry Fuoc, Director. Website:
Bath, England. Director and Conductor. www.saouchantemozart.com.
Website: www.bathmozartfest.org.uk. Website: www.midsummermozart.org.
Woodstock Mozart Festival, Woodstock,
IL Website: www.mozartfest.org.
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